LIBRARY OF CONGRESS. 



@|apZ*?iD@.apgrig|t ^o 

Shelf. .«Qi^d/ 

UNITED STATES OF AMERICA. 



COO-S'WEX-.X-rS 
COMPENDIUM OF 

PHONOGRAPHY. 



BEING A COMPLETE AND CONCISE EXPOSITION OF THE 
PRINCIPLES OF VERBATIM REPORTING AS PRAC- 
TICED BY THE BEST REPORTERS. 



FOR SELF-INSTRUCTION AND FOR USE IN SCHOOLS. 



By F. H. COGSWELL, 

OFFICIAL REPORTER OF THE SUPERIOR AND COMMON PLEAS COURTS, 

LATE PRINCIPAL COGSWELL'S PHONOGRAPHIC INSTITUTE 

AND EDITOR OF THE PHONOGRAPHER. 



TWELFTH EDITION. 






REVISED .AJSTT3 ENLARGED, 



F. H. COGSWELL, PUBLISHER, 

NEW HAVEN, CONNT 




\ 



COPYRIGHT BY 

F. H. COGSWELL 



4" 



A* 



PREFACE. 

This book has been issued for the following reasons: 

We have been unable to secure any satisfactory text-book for 
use in our own teaching. First, because most of the so-called 
instruction books are poorly arranged, without proper exercises, 
and contain much that the student does not require, and only 
serves to confuse. The multiplicity of word-signs and contractions 
found even in those books which claim to discountenance their 
frequent use, is sufficient to condemn them for practical purposes. 

Second, because we prefer to use, both in our practice and 
teaching, the best results of progress from whatever source they 
may come; hence, we do not accept the works of any author as 
being adapted to the wants of the student who wishes to avail 
himself of the best helps to a verbatim speed. Phonography is 
a growing science, and while all systems contain good points, they 
are but the stepping-stones to greater possibilities, and are all 
more or less imperfect. We have embodied in this book what 
seems to us, at the present stage of development in Phonography, 
to be the best means, consistent with legibility, of attaining a 
verbatim speed. 

We do not wish to be understood as laying any claim to 
authorship. We have neither the time, ability, nor the audacity to 
invent another system. Our principal object has been a better 
presentation of the subject, and if any seeker after a knowledge 
of the mystic art finds this book a clearer guide than those that 
have gone before, the end we have had in view will have been 
attained. 



PREFACE TO REVISED EDITION. 



In our prefatory remarks to the " Compendium of Phonography," 
when first published, we disclaimed any idea of originality, our aim 
being simply a clearer and more concise exposition of an art that has 
been very much " muddled " by self-styled authors ; but which if 
properly presented, is simple enough for the comprehension of ordi- 
nary individuals. Since that time we have made use of some addi- 
tional speed principles in our practice, and have incorporated them 
in this book. These have in part been suggested by other reporters, 
and some have been accidentally hit upon in emergencies and used 
because of their special value on such occasions. Such ideas being 
common property and their free circulation being a matter of univer- 
sal advantage, it is not necessary that special credit should be given 
here. 

The student of the following exercises may discover an occasional 
expedient for which there seems to be no general rule. It will be 
sufficient to suggest that such improvisations are frequently made by 
reporters when the context is sufficiently strong to render the mean- 
ing certain. 



TO THE STUDENT. 

You have in this book the principles of verbatim reporting 
set forth as concisely as is consistent with a clear exposition of 
the subject. It is possible for any bright young man or woman 
having an hour or two of leisure every day to thoroughly master 
the art in a few weeks. By this we do not mean that ycu can become 
a verbatim reporter in a few weeks, but you can become fully ac- 
quainted with the principles by which a verbatim speed can be 
attained. After the principles are learned it would be desirable, 
if you intend to make phonography a profession, to attend some 
good training school for a few months, in order to perfect yourself 
in the details of the subject, and get up the necesssary speed. for 
practical work. 

The benefits to be derived from such a course cannot be too highly 
valued. You become associated with others having the same as- 
pirations and having the same obstacles to surmount; you give 
and receive new ideas and suggestions that solitary study do not 
afford; you form professional acquaintances that will prove val- 
uable in after life; and, most important of all, you are under the 
direction and receive the advice of those who have already attained 
success and had practical experience. 

These advantages, however, are not within the reach of all, and 
there are many good phonographers who never saw a training 
school. To those proposing to take up the subject at home we 
would say that it would be desirable to induce one or more of your 
friends in the same neighborhood to take it up with you. This 
will make the study more interesting, and you will get ideas from 
your fellow students that will help you. You must not make the 
mistake of trying to grasp the whole subject at one sitting. If a 
student of mathematics should, as soon as he had acquired the fun- 



damental principles, attempt to solve the intricate problems of the 
Calculus, he would utterly fail and would soon give up in despair. 
One might as well try to scale a mountain at one stride. If you 
have a few grains of that precious but rare "metal" known as 
common sense, you are all right. 

Learn one principle thoroughly before looking at the next. 
Do not even look ahead to see how the remaining lessons appear. 
Let 3 T our attention be concentrated entirely on the lesson in hand 
till it is mastered, then build in the next, and so on until the whole 
is accomplished. 

If this course is faithfully pursued for a few weeks, you will 
have the principles mastered. Do not stop here and imagine that 
there is nothing more to do but sally out with your notebook and 
inquire for Philips Brooks. You have the foundation laid, but 
the structure is not yet finished. Spend the hour or two each 
day that you have been spending on the principles, in taking dic- 
tation from some friend, or if there is a club, let each take 
turns in dictating. This course kept up for a few weeks longer 
will make you a tolerably good phonographer. 

Loose no opportunity for practice, even after you have attained a 
working speed. The musician practices his scale every day, and 
the phonographer will "get left" sometimes if he does not keep 
in constant practice. The study may engross your leisure time for 
several months, but it will amply repay you for your trouble. If 
you pursue it only as a pastime, you will find it a most beautiful 
and fascinating art, and a valuable acquisition in any walk of life. 




MATERIALS. 

Most reporters prefer to use glazed paper, a good reliable 
gold pen, and common writing fluid. A pencil is preferred 
sometimes when writing on the knee. Fountain 

pens are generally deceptive. There are one or two, 
however, that are very convenient and seldom fail, 
but it is always best to have another pen in reserve. It is prob- 
able that a good fountain pen will soon appear which will be so 
simple in its construction as to admit of a free and regular flow. 

For a simple gold pen there is nothing yet invented equal to 
the " Stenographic Pen," made by Mabie, Todd vN: Bard. New 
York. 

It is well to accustom yourself to inconvenience in writing. 
The reporter is often obliged to write in cramped and uncomfort- 
able positions; he may be obliged to write with the book on 
his knee; sometimes he must rrdd it in his hand; and fre- 
quently at open air speaking he will rest his book on the back of 
the man in front of him. The phonographer who has always 
been used to writing at a table, with everything conducing to his 
ease and convenience, rinds these circumstances very trying. 
and often gets disconcerted and makes mistakes. The reporter's 
reputation rests on his ability to reproduce the speaker's exact 
words, and no allowance is ever made for such circumstances as 
those mentioned above. 

For general reporting it is desirable to have notebooks pre- 
pared in a convenient size for either pen or pencil. Those arranged 
for pencil work should be made from rougher paper, and the 
regular "Phonographic Pencil" which can be obtained of most 
stationers should be used. Such books should be ruled with 
a margin half an inch wide at the left side for doubtful words 
and convenience in arranging paragraphs. This is also very 
useful in concert practice, which subject is discussed at length in 
: 'Fowler's Shorthand Execution," a most valuable book for sten- 
ographers by F. G. Fowler, Bridgeport, Conn. For our own use 
we have notebooks made in large quantities and will send them to 
any wishing them at ten cents each and five cents extra for postage 



PHONOGRAPHY. 

Phonography means sound-writing. 

It is from two Greek words, (povq, sound, and ypaqu, to write, 
to write sound. 

It is written phonetically — that is, by sound — and not by the 
ordinary spelling. For instance, though is written by representing 
the sounds tho, the ugh being silent. 

The consonant sounds are represented by simple strokes, straight 
and curved, and the vowels by dots and dashes. 

The consonant outlines comprise the framework of the art, and 
it is on these, in their various combinations and modifications, that 
the reporter chiefly depends. He writes jmp for jump, drnk for 
drink, krt for cart (c sounding like k). He cannot, however, rely 
solely on the consonant combinations, for drnk could stand for drank 
and drunk as well as for drink. This necessitates the use of vowels 
in cases where the consonant outline fails to be definite. The gen- 
eral sense of a sentence goes a long way toward rendering certain 
the meaning of an outline that would be doubtful when standing 
alone; thus "I will drnk some water." "He drnk some water." 
" He cannot become drnk by the use of water." 

The consonants are first taken up, and in the first two lessons 
the student acquires a familiarity with their outlines. In the third 
lesson the vowels are considered, and here comes the only difficult 
feature of the subject. A little thoughtful study will conquer it, and 
then it is plain sailing to the close. 

It must be constantly borne in mind that sound-writing and 
ordinary English are two different things. It takes a little time for 
one not already familiar with phonetics to think out the sounds. 
You must learn to think phonetically. Practice analyzing words 
according to their sound, and remember that ma spells may, te tea, 
nu new, hop cope, kum come, kom comb, tuf tough, do dough, rim 
rhyme, katl cattle, konva convey, diafram diaphragm, etc. 

Do not be in a hurry to get through the book. Go slowly and 
thoroughly. The successful use of phonography depends not so 
much on the ability to write the outlines rapidly as to think how to 
write them. The mind must work faster than the hand. Aim to be 
accurate and thorough, and let speed be a secondary consideration 
until the contents of the book have been thoroughly mastered. 



COGSWELL'S COMPENDIUM OF PHONOGRAPHY. 



LESSON I. 




Alphabets. directions. Examples. 

_ _ v v Write perpendicu- v I _ _ 

Pe, Be, \\ / i *• \ I Pk, Dp, 

\ X lar and slanting v — - V * trt 

Te, De, strokes downward, [^^^-v^ Tm, Fn, 

Ch, Ja, / / exce P l La >^ Ra ^ and Av / Shp, Mr, 

/ / Hay, which are writ- t^ 
Ka, Ga, — ten upwarc j 

Ef, Ve, \ V Sh and Lay may be 

-r , r^, / ( written either upward 

Ith,Thee, (I _ , . 

^ V or downward in com- 

Es, Ze, j 1 binations, according 

Sh Zh J J to conven i ence « 

^ -f Write horizontal 

Lay, Yay, ( f strokes from left to 

Ar, Way, ^^ right. 

Write Ray more 

Em, En, ^^""^^ ' 

slanting than Ch. / 

Ray.Hay, / / H ay is generally ~~7 V Kch, VI, 

Ing, >^ m ^ omitted. s — ^^ Mng. 

In joining strokes to form words, write them all together, 
without lifting the pen, thus, \ bake, ^ / merry. 

After reading carefully the above Directions and the Examples 
at the right, write the following 

EXERCISE. 

Cup, neck, make, came, match, pope, babe, cheap, reap, 
cage, rage, check, gem, gone, game, rain, duly, daisy, mum, 
honey, meek, shake, dame, deny, bush, beef, bevy, map, life, 
rose, theme, rock, valley, zeal, fame, sham, arm, fish, tag, nag, 
rag, hitch, body, rink, duty, faith, copy, hung, type, ensue, gag, 
cake, coffee, mock, rich, holy, ark, wreath, wreathe, gaily, maim, 
main, rib, rope, teeth, death, pang, tongue, beauty, ball, keg, 
book, deck, thick, into, enjoy, assume, lion, lame, nail, mail, 
among, money, envy, laugh, image, lake. 



COGSWELLS COMPENDIUM 



LESSON II. 

CIRCLES AND LOOPS. 
A small circle is generally used to represent s and z. When 
joined to a curve it is placed inside the curve, thus: 

When used between strokes it is turned thus: 

When joined to a straight stroke it is placed on the right, if it 
is a downward stroke, and on the upper side of horizontals and 
upward strokes, thus: 

The circle may be made large to express two sounds of s oc- 
curring together, thus: \) passes, \Q faces, q cases, ^ 

roses, £ houses, q) ceases. 

The circle may be made into a loop to to express the sound 
of st, thus: \ step, \ post, \> boast, f state, \ test, 

| study, {dust, cistern, s^> must, # nest, y ceased, 

=*=> guessed, /raised, g hast. 

Zd is expressed in the same way as st. 

When s is the first consonant sound in a word, but is pre- 
ceded by a vowel sound, the stroke should be used instead of 
the circle. The reason will clearly appear in the next lesson. 



OF PHONOGRAPH Y. 1 1 

The loop may be made large to express the sound of str, thus: 
\^ pastor, v> boaster, ^~^> master, t duster, \^> faster, 
^J^ roaster, /^ lustre. 

The str loop is never used at the beginning of a word. 
Plurals and possessives may be indicated by adding a final s, 
thus: \> posts, \^) possesses, i^ diseases, ^^> masters, 
{^ coasters, \ dusters. 



EXERCISE. 

1. Sip, set, pass, tease, raise, does, race, case, sack, seer, 
gas, this, sick, face, foes, ages, sage, nose, shoes, grows, voice, 
cease, guess, hiss, safe, sob, sail, joys, sight, chase, such, sign, 
signs, scene, seems, soles, seals, acts, knees, issues, amuse, 
mouse, house, lease, annoys, city, sinew, soothe, south, seive. 

2. Rasp, task, bask, mask, chosen, abysm, design, listen, 
reason, risk, gasp, dislike, spasms, decides, decisive, mason, 
resume, misery, unseen, unsafe, receive, vessel, visage, passage, 
beseech, husk, pacif}', respect, outside, insane, excite, missile, 
honesty, nestle, thistle, guzzle, dazzle, muzzle, cousin, music. 

3. Pieces, bases, guesses, chases, races, losses, faces, noses, 
recess, races, access, desist, system, resist, subsist, insist, scissors,, 
season, success, successive, necessity, passive, missive, accessory, 
necessary, exist, sources. 

4. Stop, state, steady, dust, stitch, stage, stock, store, 
chaste, style, arrest, sting, must, missed, opposed, reposed, 
paused, refused, amassed, stick, supposed, studies, stages, 
guessed, jest, aghast, vast, last, steals, solaced, deposed, reduced, 
infest, next, mixed, diffused. 

5. Faster, lustre, songster, roadster, jester, master, rooster, 
teamster, forrester, bannister, spinster, castor, coaster. 

6. Successes, diseases, lists, vests, masters, artists, song- 
sters, chests, boasters. 



COGSWELLS COMPENDIUM 



LESSON III. 



VOWELS. 



The reporter generally writes only the consonant outlines, 
leaving the vowels to be implied by the position of the words with 
reference to the line. The following is the vowel scale employed 
by most phonographic writers: 



e 


a 


• 


1 


e 




<?at 


ale 


a 
fax 


it 


net 


a 
cat 



au 


6 


- 


6 


u 


- 


awe 


<?ar 


65 
iood 


en 


eun 


6o 

good 


V 




A 














A 




< 


I 




oi 












boil 


ou 
out 




u 
xue 



Directions. — Write the consonant outline so that the first per- 
pendicular or slanting stroke will rest in the position indicated by 

the accented vowel. For example, the word beak is written _^ — 

because the first slanting stroke must rest in the position 
indicated by e, which is above the line; bake is written V____ 
because the vowel a rests on the line; back is written _\ be- 
cause the vowel a is under the line. 



of phoxography: 



13 



These three positions are called First, Second and Tj 
according as the vowel is above, on, or under thj line. 

If a word is composed wholly of horizontal strokes, it is writ- 
ten entirely under the line when in the third position, thus: 
__^~ ;r canoe; but if the word contains other than horizontal 
strokes, the hrst perpendicular or slanting stroke should rest 
across the line, as in the word back \ — . 

It is sometimes desirable to insert a vowel when the consonant 
outline would be obscure and difficult to read. Usually the in- 
sertion of the accented vowel is sufficient. This may be done by 
writing the dots, dashes and angles by the side of the strokes, writ- 
ing the vowel at the left or over the consonant if to be read before, 
and at the ri^ht or under the consonant if to be read after it; for ex- 



amp^e, 












follows: 


J 
, eat, Jj ate, 


.1 s 


L dd, 


! die, 


.-j due 


• key 


_ cov 


cue 


„^-^ 


ache 


— — oak 










-^> aim, 


, ■ ■- mew. . >- 


- fee, 


/ 


foe, ■•" 


-W few - 



EXAMPLES. 



^^rr^meek ^rdlcame .-^^^-funny^.^rr^fame-X^pa.^w^-.-.arm 

V bonnv nonk '• ^-^ Irincv •« S • \s~ % , 

-_>rri - , o=" 1jCk ^ 1R = ^.-cow y^^ rnin_fg_.de1 

-\c/|-.purity, .^-.-beauty, ^^Z. merry, Jzr_ deem, _JL Eden 



ay 



ive _ V^" belc 



: coolie. 



It is well for the student to make a practice of writing in 

every vowel, so as to acquire facility in their use. 



i 4 COGS WELLS COMPENDIUM 



Note. — The circle and loop do not affect vocalization. 

For example : -^ ope, _£>t — soap, _==l_ eke, 

... ?. seek, ' ache, „.9^A^__. stake. 

But a vowel cannot be written before an initial or after a 
final circle or loop. 

In such cases the stroke must be used and the vowel placed 
against it according to position. 



EXERCISE. 

With the outlines* for the following words in the proper 
positions, and insert the accented vowel: 

Pea, paw, ape, beg, bough, tea, oat, tow, day, dough, owed, 
age, each, chew, itch, oak, key, gay, go, ague, thaw, oath, ace, 
say, saw, show, shy, shore, lay, law, lie, oil, lien, aim, may, 
mow, nay, know, nigh, woo, way, woo, yea, edge, ell, ill, etch, 
odd, ash, echo, egg, keep, cape, coach, peek, opaque, peal, pale, 
pole, pull, boat, beak, bowl, beam, team, deep, dale, dome, cake, 
cage, catch, check, joke, gala, coolie, gallows, themes, sheep, 
shop, leave, loaf, laugh, love, loathe, wreath, wreathe, name, 
many, heath, hate, mock, mellow, leap, rap, rogue, wrote, oar, 
reach, rage, roam, zero, shock, shook, shaggy, nap, live, 
lilly, follow, guinea, gang, coffee, chimney, ring, mighty hurry, 
shiny, chamois, lung, lash, lath, money, enough, iron, knife, 
match, purity, policy, parody, cabbage, period, arraign, marriage, 
infamy, monk, resume, kick, America, became, voyage, vouch, 
vowel, duty, power. 



OF PHONOGRAPHY. 



15 



LESSON IV. 

WORD-SIGNS. 

Simple strokes are used to express frequently recurring 
words, and are sometimes written out of position for convenience. 

Memorize the following list of 



CONSONANT STEMS. 



\ \ 



\ 



I I 



V * • > 1 1 1 

by, be, to be, subject, time, it, itself, do, had, 

^ -/- i- / = = - 



large, common, 
which, much, advantage, kingdom, come, give-n, 



_^ A, ^_i k. 



together, for, ever, have, however, several 

1 1 ( _ L _ L 



--(- 



-4- 

think, thank-ed, them, though, this, those, 

they, thou, thus, 

L. J ! , L L 

themselves, was, is, his, as, has, wish, shall, 



J 



../... 



■■)■ 



\ 



usual-ly, will, whole, her-e, are, our, hers-self, 



i6 



COGSWELLS COMPENDIUM 



-V 



"&- 



curs-self, ourselves, am, may, him, home, in, any, 



own, thing, language; long, length, influence, 



^ >. -> C 

why, way, away, your, 



he. 



VOWEL STEMS. 



! 



JL 



all, already, ought, two, oh, 

awe, too, owe, 



who-m. 



of, or, 



on, 



to, 



but, should. 



I, eye, high, how, 



now, new, the a-n-d. 

knew, 



OF PHONO GRA PII V. 



17 



PUNCTUATION. 



>o <pr / 


Period. 




Interrogation. 


r 

X 


Exclamation. 


{ ) 


Parenthesis. 




Dash. 


* 


Hyphen. 


= 


Capitalizer. 


Any other punctuation car 


be supplied in transcription 



SENTENCES. 

1. All things are ours. 

2. Come this way. 

3. Why will he use him thus ? 

4. Has she ever seen them together? 

5. It will be of some advantage, because he knows why they 
wish it to be so disposed of. 

6. His influence will be of use to several. 

7. I think it is for your own home. 

3. The}^ usually come here if they have time. 

9. Go thy way in peace, for thou hast given much. 

10. Language should be chosen for its beauty and power. 

11. If, however, the subject is given out, he will do his best. 

12. Keep the rogues all out, for the influence they exercise 
vill do much to damage the case. 




COGSWELLS COMPENDIUM 



LESSON V. 



BRIEF SIGNS FOR WAY AND YAY. 

For convenience in writing it is found desirable to use the 
following semi-circle as substitutes for Way and Yay in many 

cases, called " Brief Way," and J± 1 called " Brief Yay." 

There are two of these characters to represent each Way and Yay 
stroke, and either may be used as is most convenient, thus; 

\„weep, J weight._;^Zir-week T ^ — wine. „5^W— one, ->crr^_yoke, 

-1 •/' 
-_Vsi<l young, „._!._ yacht, , rS , yell, r yam, _"(£_. weal, 

_.. war, „.„jl. yore. 



The circle may be joined with the brief Way and Yay, thus; 
- — - sweep, ../.....switch, J±r^L, swine, - 3wim, t ..^rrT.....swing. 



EXERCISES. 

1. Weep, web, wit, wot, wait, wad, weed, wood, widow, 
wedge, wade, witch, walk, week, wake, woke, wax, wig, weave, 
wave, wove, woof, wash, win, wine, wen, wan, wile, weal, wall, 
wail, wool, worthy, wieldy, wince, winces, winced, unworthy, 
unwieldy, worse, worst, yacht, yell, }^awl, yore, )^on, yoke, yak. 

2. Sweep, sweat, swayed, switch, suage, young, youth. 



OF PHONOGRAPHY. 19 



WORD-SIGNS. 



we, with, were, what, would, ye-ar, yet, you 

beyond, 



when, one. we may, well, while, we are, where, aware. 

we will, 



SENTENCES. 

1. Will you go yachting with me ? 

2. Hear the young yak yell. 

3. The wily witch wore a white woolly wig. 

4. Wait one week, nephew, for the young widow. 

5. With a weed switch he wove a wavy withe. 



•*-»«M^<-* 



COGSWELLS COMPEXDIUM 



LESSON VI. 

HALVING. 

Strokes may be made half length to add the sound of t or d % 
thus: X peat, vg pate, Jjf ^ bite. J tight, ^ light,. .Vu_..fate, 
_Z1. mee *, JL~» late, ,.^s._ habit, Jj^Z. softly. 

When Lay, Ar, Em, and En are halved to add d, they should 

be shaded, thus : j£j aid, ../Ljaud, Told, .. A.Joad,.3....erred, 

— .■x...-hard, ....-3*.. made ...mad, '*" gnawed, *— neighed. 

nude. 

*-* 

Ing, Way and Yay are never halved. 

When a halved stroke is followed by a circle or loop, the 

sound indicated by halving is read before the circle or loop. 

Never halve to add a subsequent syllable, thus: J>oet should 

be written _V_jmd not..X„ ; mighty is written _Jl1 and not 
X.. which gives only might. 



EXERCISE. 

Pit, pat, pet, pate, apt, pout, bate, bet, bat, bought, boat, 
taught, toot, date, dot, dote, doubt, cheat, chide, chat, jet, kite, 
caught, act, coat, got, gate, get, goat, gout, fight, fought, fit, feet, 
fate, oft, aft, foot, vate, vat, east, shot, frhout, shoot, pied, paid, 
abode, bid, bed, bad, deed, died, dead, joyed, jade, code, aged, 
good, gad, feed, void, viewed, showed, shad, shade, shed, food, 
fed, toyed, allowed, allied, mud, load, mood. 



OF PHOXOGR 4PHY. 



WORD- SIGNS. 



< = - - - '- <■ >- 

put, about, quite, could, good, after, that, without, astonish-ed. 



j '■ ^ > , - - 

establish-ed-ment, world, Lord, heard, hard, word, immediately, 
read, 
order, 
ordinary. 



. ,g->.. 



S-_S. 



somewhat, nature, under, want, went. 

hand, 
hundred, 



) 



..)... 



as it, 
sometime, is it has it. 



SENTENCES. 

i. Put that bad boy to bed. 

2. The cat caught the bat, after a hard fight. 

3. Chide the aged jade that could act such a deed. 

4. Kate Coit cau.ght quite a cute rabbit in the woods, and 
let it get out of her hand after she had reached home. 



COGSWELLS COMPENDIUM 



LESSON VII. 

EL-HOOK. 
When /is the next consonant sound after a stroke, it may be 
written by a small hook at the beginning and on the circle side, 
thus:._.J>„.plea, ...\..play, ._S.___.plow, ....(..idle, / chill T ^C-jail, 

•.. clay, eagle, ,,_ V awful, ^- flaw, j^/shell. 

The El-hook may be added to the Hay stroke by enlarging 

the hook, thus: J~; hall, £ hale. 

When a dash-vowel occurs between a stroke and the El-hook. 

it may be cut througe the stroke, thus : T, ma toll, ...S v -~. pool, 

*\ 

\,poll, ...^..foal, _^~ full, .. c r±rr...coa.\. 

When a dot-vowel so occurs it may be expressed by a small 
circle placed before the stroke if long, after it if short, thus: 
._!.. peal, _\_ pill, JL=,-. fail, . V^. fell. But this is 

seldom necessary, and is rarely used. 

When the El-hook is used with Em, En, and Ray, it is made 
large, thus: <^^ ml, Q__x nl > ^S rl - 

The circle may be used with the El-hook, thus: __\..... spell, 
1___ settle, ./o satchel, J^zr.. skill, JSr... civil. 



OF PHONOGRA PH Y. 23 



EXERCISES. 

1. Plea, play, plow, blow, blue, tool, till, tell, tall, dell, 
dole, dale, chill, jail, gill, call, keel, kill, coal, cool, guile, goal, 
glue, eagle, glee, flee, fly, awful, flaw, flew, flue, evil, oval, thill, 
shell, shoal, mile, mill, mole, mule, knell, kneel, knoll, haul, heeL 

2. People, pickle, pupil, bible, babble, feeble, faithful, 
noble, liable, legal, local, amiable, likely, angle, uncle, bushel, 
special, especial, tumble, thimble, rumble, mumble, ofhciah 

3. Claim, gloom, gleam, plume, club, oblige, classes, clois- 
ter, please, pleases, pleased, clip, clock, blame, clause, clauses, 
clothes, plaster, bluster, cluster. 



WORD-SIGNSo 



c. t_ : 

1 

until, difncult-y, equal-ly, child-ren. 

at all, 



SENTENCES. 



i Toll the bell. 

2 My ethical uncle plays the fiddle. 

3. Please tell the people to oblige the official. 

4 The youthful pupil placed the sample on the table. 



24 COGSWELL S COMPENDIUM 

LESSON VIII. 

AR-HOOK. 

When r is the next consonant sound after a stroke, it may 

be written by a small hook placed at the beginning on the side 

opposite the El-hook, thus: \ pi, \ pr, f tl, | tr, 

Z 77 chl, J chr, «= kl, c kr. 

The Ar-hook is written with a curve by reversing the form as 

written with the El-hook, thus: \ fl, \ fr, V thl, 

1 thr, V vl, 1 vr, <^ shl, J shr. 

When the Ar-hook is written with Em and En, the stroke is 

shaded, thus: (! '" > v mr, <^_ t -* nr. 

The El and Ar hooks may be enlarged to imply the addition 
of the opposite hook, thus: \^ plr, \ prl, tlr, 

j trl, V_ fir, °\ frl, <f^\ mrl, C^ nrl, C klr, 

The circle may be used with the Ar-hook on straight lines, by 
writing it in place of the hook, thus: \ spr, | str, / schr, 
— skr, a s g r « With mr and nr, thus: k**** smr, Q^ 

snr. 



OF PHONOGRAPHY. 25 

EXERCISES. 

1. Pry, pray, bray, brew, tree, try, trow, tray, true, eater, 
otter, draw, dry, acre, crow, crew, cry, eager, agree, grow, gray, 
grew, fry, free, offer, over, hover, affray, author, throw, threw, 
usher, azure, honor, owner, hammer. 

2. Proper, pauper, popper, dipper, cheaper, jobber, keeper, 
caper, cooper, robber, neighbor, baker, maker, meager, archer, 
richer, major, fisher, measure, banner, dinner, donor. 

3. Prize, praise, prop, prime, probe, braced, traced, brick, 
brag, drop, trim, dreary, group, crayon, crook, truth, drug, 
dream, dressy, crime, shriek, broom, grab, problem, colonel. 

WORD-SIGNS. 

* \= -^ -x - 1 \ 

principle, practice, remember, number, doctor, during, 
member, 



/ 



Mr., mere, larger. 



SENTENCES. 



1. Practice each principle thoroughly. 

2. Doctor, do you remember the number of cases you have 
lost during the past year ? 

3. The poor pauper cut a queer figure when he threw the 
copper pitcher at his grim keeper. 

4. Approach the droll lodger and see if you can induce him 
to brush the briers from his trowsers. 

5. The bookkeeper pores over his ledger, while the vigorous 
archer breathes fresher vapor, and capers across broad acres at 
his leisure. 



26 COGSWELL'S COMPENDLUM 

LESSON IX, 
EF AND VE HOOKS. 

When f or v is the next consonant sound following a 
straight stroke, it may be expressed by a final hook on the circle 

side, thus: _\o__ puff, „__\j.__. pave, L.~ tough, - S — chaff. 

-!„___ cough, _.*£<_ rough, I* .... deaf, /V* beef. 

The circle may be added to an Ef-hook, thus: .„..>& puffs, 

I — 3 J* T 

....^.....Hoffs,-- 1 -coughs, „„£^ hives, ____??_ drives, „.!Sy. proves. 

The Ef-hook may occur in the middle of a word, thus: 
proffer, 9- - traffic, ,rrrrr. giver, „„_J(_ driver. 



When a stroke having a final hook is halved to add t or d, 
the sound indicated by halving is read after the hook, thus: 

_ V drive, drift, \> believe, ~ believed, 

„~_ _ achieve, achieved, ^ grieve, ;. _ grieved. 



EXERCISE. . 

i. Beef, tough, deaf, chief, chafe, cuff, calf, roof, hoof, reef, 
rough, heave, staff, scoff, serf, strife, cliff, drove. 

2. Puffs, paves, drives, droves, coughs, coves, cliffs, cuffs, 
graves, proves, delves, cloves, grieves, groves, gloves, strives, 
stoves. 

3. Prefer, braver, toughen, profane, divine, deafen, define, 
devote, defense, advance, engraver. 

4. Tuft, raft, heft, haft, deft, chafed, coughed, gift, reft, 
bluffed, cleft, cleaved, draught, craft, graft. 



OF PHONO GRA PH Y. 2 7 

WORD-SIGNS. 

^ ' l - - t 

before, whatever, differ-ent, careful-ly, govern-ment, advertise- 



SENTENCES. 

i. Whatever differences may exist in regard to the govern- 
ment, let them be adjusted peaceably if possible. 

2. Go over the case carefully before the trial, and see that 
the defence is properly prepared. 

3. The profane driver grieved the clever rover and almost 
deafened him with loud oaths and frightful yells. 




23 COGSWELL'S COMPENDIUM 



LESSON X. 

EN-HOOK. 
When n is the next consonant sound following a stroke, it 
may be expressed by a final hook written on the side opposite the 

V I I 

Ef-hook, thus: ^__. pun, y ton, __J den, ..-^m- cane, 

— Sl.~ rain, ~.js£~ chain. 

The En-hook may be added to curves by writing it on the 

concave side, thus:- — -- fine, > fan,— k thin, >L}...vain, 

— _even, mean, ~^X?_moan, _shine r c/ shone, 



nine, ""^t none. 



The En-hook may occur in the middle of a word, thus: 



W "7 

finer,...^ .fancy, finish, minute, ;?==r .___„ mechanic. 

The En-hook on curves may be lengthened to express/" and v 
thus: .....:* ...five. J^vive, Ji thie f. 

The circle may be written in place of the En-hook on straight 

strokes to express ns, thus: J^ pens,.._ J dens,,.... .J dance, 

—.-1 dances. 

The loop may be used in this same way, thus: — i danced, 

A.— punster, 5L spinster. 



OF PHONOGRAPHY. 



29 



EXERCISES. 

i. Pin, pawn, open, pine, pain, pan, happen, bane, bone, 
ebon, boon, tin, tan, town, chin, coin, keen, hen, wren. 

2. Fawn, fan, vine, Avon, oven, heaven, home, woven, 
lawn, nun, moon, mine, loin. 

3. Panic, punish, bench, vanish, candy, finish, furnish. 
thinner, plunge, blanch, fringe, finance. 

4. Pawns, pens, vans, spins, dense, chances, chanced, 
rains, glance, glances, glanced, expense, expenses, suspense,, 
screens, strains, scorns, punsters, spinsters. 



WORD-SIGNS. 



d 

yeneral-ly, 



phonography, within, men, 



man, women, woman, human, opinion. 



SENTENCES. 



1. One can generally detect traces of humanity in even the 

basest ( — ^f — ) of mankind. 

2. The young man or young woman who nas a desire to 
succeed in life will learn phonography and become expert in 
its use. 

3. If you would become cultured in a high degree, enquire 
within, and develop the resources of your own mind. 

4. No man knows what death is, yet men fear it as if they 
knew well that it was the greatest of all evils. 



COGSWELL'S COMPENDIUM 



LESSON XL 

TER-HOOK. 
When used on straight strokes, the En-hook may be made 

large to express tr t di , or thr, thus: V ... patter, q - , better, 



| tutor, ..A daughter, „.^L_ scepter, actor, 

...3... bolder, J^> colder, -— j- gather, -^O- rather. 

The Ter-hook may be used to express the words theh , there, 

they are, etc., thus: O by their, ...T!T3L.. g° tnere ».....w. U P there, 

jy_ . each other. 

The circle may be used with the Ter-hook, thus: _<J daugh- 
ters, __s5._ brothers. 

The En-hook may also be used, thus: __S?__ brethren, ^?. 

return. 

EXERCISES. 

Tighter, doubter, taught her, pewter, platter, bloater, titter, 
till they are, equator, spider, writer, rudder, hotter, hatter, hater, 
later, coulter, kilter, doter, tatter, ratter, rater, rider, ruder, 
garter, clatter, prater, teeter, crater, creator, cruder, operator, 
instigator, narrator, testator, brother, dater, intruder, erector, 
injector, deflector, reflector, creature, picture, scripture. 



SENTENCES. 

1. The tutor said it was hotter at the equator. 

2. The testator left a pewter platter to his brother's daughter. 

3. The operator taught her how to manage the reflector. 

4. The narrator was also a writer, and pictured the exploit of 
the acior who was the instigator of an attempt to fill up the crater. 



OF PHONOGRAPHY. 31 



LESSON XII*. 
SHUN, ESHUN AND EN HOOKS. 

I. SHUN-HOOK. 

To express the syllable shun, the Ef-hook may be made large 



on straight strokes, thus: X passion, ,•* ._ 

o Ij 

*> ...\*^_... operation, addition. 



ration, 



caution, 

When the sound of shun follows a curve, a large hook is 
placed on the concave side, thus: \ fashion, _-^T^>._ motion, 

__^r:_ notion, >s> allusion. 

The Shun-hook may occur in the middle of word, thus: 
auctioneer, ^- national, /i ^r missionary. 

■v2t" " 

The circle may be added to the Shun-hook thus: V , 
operations, y^S- allusions. 

EXERCISE. 

Potion, passions, edition, sedition, section, deception, at- 
traction, inception, perception, inspection, perdition, approba- 
tion, oration, adoration, derision, vision, visionary, attention, voli- 
tion, recreation, navigation, elocution, dictionary, reputation, 
repetition, faction, dilation, cohesion, aggregation, occasion, per- 
oration, fashions, motions, nations, occasions. 

2. ESHUN-HOOK. 

When the sound of shun follows a circle, it is read Eshun, 
and is expressed by turning a back hook, thus: .._.„?_.... position, 



j* decision, ..^€..... physician, <r 



physician, _£_ transition, q^ 

sensation, JZ^I musician, J^fL. incision, .— e. accusation, 



X 



association. 
Eshun may be added to an Ef-hook by repeating the hook, 



32 COGSWELLS COMPENDIUM 



thus: ...Xkl... profession, _Jw division, I diffusion. 

The circle may be added to the Eshun-hook, thus: j£ 

physicians, ^professions, 

EXERCISE. 

Position, possession, opposition, negotiation, precision, accu- 
sation, acquisition, physicians, musicians, incisions, sensations, 
propositions, suppositions, cessation, annexation, secession, 
civilization, taxation, pulsation, processions, accusations, devo- 
tions, preposition. 

3. EN-HOOK. 

When the sound of En, In or Un occurs before s, it may be 

expressed by a small hook as follows: unseemly, «<?£.~.V- 

enslave, ...^3^ insert, . unscrew, .^\ inscribe, — ?\- 

inseperable. 

EXERCISE. 

Insurmountable, unsalable, insolent, insult, unceremonious, 
unstrung, insecure, insuppressible, unsurmise, unsullied, en- 
slave, instructor. 

WORD-SIGNS. 
, V .-^ i. 

objection, question, generalization. 



SENTENCES. 

1. Angry passions bred dissension among the nations. 

2. The pulsations of civilization extend navigation, annexa- 
tion and taxation. 

3. The musicians made a great sensation when the physi- 
cian made an incision. 

4. His oration was visionary, but his diction received the 
approbation of the organization. 

5. The instructor told the operator to unscrew the part that 
was insecure and insert an instrument that would cause more re- 
fraction. 



OF PHONOGRAPHY. 33 

LESSON XIII. 

SHADING AND LENGTHENING EM. 
When p or b is the next consonant sound following Em, it 

may be expressed by shading the Em, thus: .^""^ imp, -^St.. 

emp, ..:^>... pump, _.._.L_-.._.. damp, ~£a*> jump, imbecile, 

■-/^.-— ^ am P» - impostor, glimpse. 

Ar may be added to Emp by lengthening, thus: fT""^> 
timber, ,._-™.. simper, .Jc_~$— temperance. 



EXERCISES. 

r. Pomp, bump, tamp, stamp, stump, camp, romp, thump, 
lump, limp, vamp, swamp, samp, plump, tramp, cramp, hemp. 

2. Bumper, temper, damper, jumper, amber, ember, lumber, 
scamper, sombre. September, November, December, cucumber, 
slumber, empire, embargo, chamber, vampire. 



WORD-SIGNS. 



...<^>_.. 



impossible, import-ance, improve-ment, simpl-e-y, example, 
-ant, 



SENTENCES. 



1. Fell your timber in December if you would get good 
lumber. 

2. It would be simply impossible to improve upon such a 
worthy example. 



34 COGSWELLS COMPENDIUM 

LESSON XIV. 

LENGTHENING OTHER CURVES. 

The sound of kr or gr may be added to Ing by lengthening, 
thus: ^T^-. inker, anchor, -_?.....rT. winker, 4 V ?rr: ^..thinker, 

JOZZZL. stronger. 

TV, dr or thr may be added to any other curve by lengthening, 

thus: jL.. letter, 2L niter, ^^^. enter, J^^.... ardor,. \ 

father, _^rx^v mother. 

EXERCISE. 

Anger, linger, languor, handkerchief, center, literary, thither, 
oyster, eastern, sunder, wonder, winter, hinder, wither, whither, 
wander, render, cinder, tinker, latter, smatter, entire, senator, 
northern, modern, neither, water, longer. 



SENTENCES. 

1. Father brought mother a letter. 

2. The senator was chosen because of his literary fame and 
his power as a thinker. 

3. Bring hither the lantern, and let us wander forth despite 
the winter and the fierce northern blasts. 



OF PHONOGRAPHY. 35 

LESSON XV. 

PREFIXES. 
Con, corn, accoi?i and cog occurring at the beginning of a word 
may be expressed by a dot, thus : ,.'.C\.. confer, Vo confess, 
...: conceal, ^J commit, \__._ comply, •_.„^_ accompany, 



cognate, JS^rzL. cognition. 



Either of these sounds may be implied, when occurring in 
the middle of a word, by writing the part following under that 
which precedes it, thus: m _ m 'SL. .. misconceive, § j£_ inconsistent; 

iL..u discontent, _/*£„_ reconcile, . /^__ recognition. 

This prefix may be implied by writing the word having such 

prefix just under the preceding word, thus: :L- in content, 

V^ she confessed, ___?_'_ we are constrained, jC L. select 

committee, ./^T.„ will accommodate. 

Circum and self may be implied by writing a small circle as a 

prefix, thus: fca.__ circumvent, __S t circumscribe, ..^f\. self- 

o 

*-— 
respect, self-esteem. 

Contra, contro and counter may be implied by a short tick 

written as a prefix, thus : V contraband, „_X_. controversial, 

..LQ^... countersign. 

Fore may be expressed by writing disjoined Ef as a prefix, 

thus: ^JL foreknowledge, A\™, forefathers. 



36 COGSWELL'S COMPENDIUM 



Magna and magni may be expressed by writing disjoined 
Em as a prefix, thus: ..^3^... magnify, S^.... magnificent, ^- 



Magna Charta. 

These prefixes may sometimes be joined when legibility 
would not be destroyed by so doing. 

EXERCISE. 

Comfort, commend, commence, commissioner, commute, 
conclusion, cognizance, cognovit, conciliate, consult, circumlocu- 
tion, contradict, countermand, counterfeit, incomparable, incon- 
stant, incognito, forefinger, forestall, foreseen, reconcile, irrecon- 
cile, magnitude, magnanimous, misconstrue, reconnoiter, recom- 
mend, recognize, selfish, self-evident, self-respect, unconscious 
unconquerable, unrecompensed, unconcern, unconstitutional. 




OF PHOXOGRAPHY. 37 

LESSON XVI. 

AFFIXES. 
B2e, bly may be expressed by writing Be as an affix, thus: 

..^k- sensible, t _S-_ profitably. 

Ing may be expressed by writing a small dot as an affix, thus: 

\ - doing, V . having, :..._ seeing. 

lugs may be expressed by a small circle, thus : j doings, 

.__^ musings. 

Ingly ma}*- be expressed by a heavy tick written slanting, 
thus: '■* . exceedingl)-, J---^5L lovingly. 

Ling may be expressed by the same tick written perpendicu- 
lar or horizontal, thus: handling, scantling, 

- mingling. 

Mental may be expressed by merit written as an affix, thus: 

^S^-L ornamental, —la— instrumental. 

5/fo^ may be expressed by Sh written as an affix, thus : 
jsskJ— hardship, ^ friendship. 

Someness and lessness may be expressed by a large circle 
written separately as an affix, thus : /^ * lonesomeness, 
./^..-S helplessness. 

Ology, alogy, / ^ theology, ?Bz£-~ mineralogy. 



Dlogy, C3±a£- 



ss 



COGSWELL'S COMPENDIUM 



EXERCISES. 

Insurmountable, amenable, attainable, trying, seeking, know- 
ing, drying, amazing^, charmingly, foundling, stripling, handling, 
mingling, musings, savings, lordship, courtship, partnership, 
township, irksomeness, biology, phrenology, zoology. 




OF PHONOGRAPHY. 



39 



LESSON XVII. 



PHRASING. 

It is proven by tests with Fowler's "Graphometer," a machine 
for determining the exact time required to write certain forms, 
that about 40 per cent., or more than one-third of the whole time, 
is snent in passing from word to word. This "waste" may be 
reduced in a considerable degree by the judicious use of phrasing. 

^.Vord-signs and simple outlines may generally be phrased 
with safety, but phrases that would be difficult of reading should 
be avoided. 

EXAMPLES. 



V 



/X 



we have. 



will be. 



__**=^a you must. 



^\ 



.could not be. 




should be. 



? many things. 



you will do so. 




Jong ago. 



at home. 




4 o COGSWELLS COMPENDIUM 



SENTENCES. 

1. Come unto me all ) T e that labor and are heavy laden and 
I will give you rest. 

2. There are man}' things about the subject of phonograph}* 
that cannot fail to interest the most careless and inattentive. 

3. Give thy thoughts no tongue, nor any unproportioned 
thought its act. 

4. The heart is not necessarily the fountain of words; but it 
is always the source of tears, whether of joy, gratitude, or grief. 

5. As the dews of heaven, falling at night, are absorbed by 
the earth, or dried up by the morning sun, so the tears of a people, 
shed for their benefactor, disappear without leaving a trace to tell 
to future generations of the services, sacrifices and virtues of him 
to whose memory they were a grateful tribute. 



OF PHONO GRA PH Y. 4 * 

LESSON XVIII. 
SPECIAL PHRASING. 

A-n-d and the may be phrased with other words by writing 
a-7i-d with a perpendicular or horizontal tick, and the with a slant- 
ing tick, thus: > . by a-n, ,../.. by the, JSl, if a " n > .J^L 
if the, ...I..., and it, of a-n of the, ...\,... to a-n, ..> 

to the, ...X. and a-n, ...tt... and the, on the, or the, 

...k'..... but the. 

/and he may be phrased more easily by writing them as ticks, 



thus: 



not 



1^ 



I am, Jzi*- I can > — X wilI » -I-.. I do > JL I did 

...I I said, -< ^- he can, ..</!... he will, JZSk. he must, ..4.., 

he had, ../ he said. 

When used thus, the tick must always be perpendicular or 
horizontal to represent /, and slanting to represent he. 



NUMBERS. 



Write i, 2, 6, io, with phonographic characters, thus: 

£*/... v. 2z!L ...J.... 

Numbers of one denomination may be expressed phono- 
graphically, thus: ..S^rx.. for ioo, n S^... for i,ooo, .<££^. for 
1,000,000, .^v for 100,000. 



Numbers of the second denomination (20, 30, 40, etc.), may 
be expressed thus :■%/..._. ^ .—_.„., Jj/j. 



42 



COGSWELL'S COMPENDIUM 



SENTENCES. 

1. The man and the boy were riding on the horse. 

2. If the sun shines for an hour, we will go to the woods. 

3. I am glad I did not go, for he said that all the town were 
there. 

4. He must have been beside himself, for I am sure he can 
do better than he did. 

5. And let me say that this is a book which is both in our 
own control, and is not in our own control. It is in our own 
control before we speak and act, but not so ever after. 

6. The hours of this day are rapidly flying, and this occasion 
will soon be passed. Neither we nor our children can expect to 
behold its return. They are in the distant regions of futurity, 
they exist only in the all-creating power of God, who shall stand 
here a hundred years hence, to trace, through us, their descent 
from the Pilgrims, and to survey, as we have now surveyed, the 
progress of their country during the lapse of a century. 



OF PHONOGRAPHY. 43 



LESSON XIX. 

OMITTING WORDS. 

A considerable gain in speed may be effected, without sacri- 
ficing legibility, by omitting certain words according to fixed 
principles. 

Of, of the, of a-n, may be implied by writing the follow- 
ing word close to that which precedes the word or words to 

be implied, thus: -o^_\, many of the people, v_„ Children 

of the Abbey, /?^f.. Maid of Athens. In cases where such 

expressions are frequently recurring, the words may be phrased 
with safety, and at the same time speed may be greatly accel- 
erated, thus: _gzL._ court of law, .c-^__ court of last resort, 

._ Jn.. voice of the people, _<^\ one of a number, y^r house 
of God. 

To, to the, to a-n, may be implied by dropping the following 
word under the line, thus: .—_., come to me, ' . "... not to-day, 

- . \ 

1 V 

—zzzz. time to come, — <^? strive to enter. 



This piinciple does not conflict with the third position. 
Have may be omitted in phrasing when followed by been or 
done, thus: _^-~ would have been, .._r=» could have done, 

..r-p may not have done, ^S_ shall have been. 

Sometimes phrases may be formed on the spur of the 
moment, such as the following: _^y- by the way, JJ... from 

time to time, _i!..from day to day, ..ij day after day, -~>y\ -- from 

hour to hour, _v^_. hand in hand, ^CL more or less,. 

o_l sooner or later. 



44 COGSWELLS COMPENDIUM 

SENTENCES. 

1. A great many of the children were out to the picnic. 

2. Only one of them could have been there. 

3. Sooner or later he will be brought to his reward. 

4. Let me recur to pleasing recollections, let me indulge in 
refreshing remembrances of the past. 

5. Shoulder to shoulder they went through the Revolution, 
hand in hand they stood round the administration. 

6. Determined to deserve success, he risked his own life 
and the lives of his associates without reserve. Enchanted with 
the splendor of victory, he would wade in torrents of blood to at- 
tain it. 




OF P II 0X0 GRA PII Y. 4 5 

LESSON XX. 
SPECIAL SPEED PRINCIPLES. 

Words may often be added by means of the foregoing prin- 
ciples. Thus, the halving principle may safely be employed to 
add it. For example, if it,.. _S.__ior it, __V_ have it, if it is. 

The hook may be employed to add words, thus: -->„ by all, 

— I it will, -/»-- which will, of all, - «___and all, _Sw— to all, 

on all, _.£. but all — will, __/"_ who will, orwill — all, __?__ 

by our, _„„_ by ours-self, __„_ by ourselves, of our,. 

<\ 

all are-our, ...?— who are, -e^~ . and are-our, .. x.„ to have, 

I have, _^__. which have, -/—who have, of one-any, - - 

all our own, ^ to our own, or not,..^.. have not, __Yo.__ for one. 

<> her own, _:\ _ our own, _s%) rather than, ___ gather in, 

\ H> 

._^_ by theii own, __!__ instead of, I out of, \___ at once,. 

May be can be written, ^r^... 

Words may also be added by lengthening, thus: r^w^ 
many other, _ < ^ s ^ r among their, \ ior their-they are,, 

_\^-- for their own, V _ if therebe, /_„ later than, ^\ 
shall there be, J^_. are there any, __^__ i s there one. 

The circle may be used to add us, thus, ->^- for us, __>* 
before us, give us, ^__ round about us. 



46 COGSWELLS COMPENDIUM 

Words may be added by the In-hook, thus : in the spirit 

/a^N. in some, _z?tl_ in as great, _?T— in secret. 

Sounds may be indirectly implied. For example: _Tr^.in all, 

^T^. in our, __ J__ enlighten, _TlX in respect, S^^Z in regard, 

_T7^- in reply. 

Note — Word-signs in the above that have not already been 
given will be found in the following list. 




OF PHONOGRAPHY. 

CONTRACTIONS. 

... .*-* ... movement. 

^- never. 

-^-nevertheless. 
„_..„X. nothing. 

j".. notwithstanding. 

ordinary. 

,.„. r N.. opportunity. 

« particular. 

A. ...plaintiff. 

*<^S~ ..refer. 
../^....reference . 
.sC\. represent. 

P satisfactory. 

significant. 

3 

*■■ strange-r. 

...A-m ....technical-ity. 
•— «^~ testimony. 



4? 



~ ' acknowledge. 

..../ at first. 

f at last. 

christian. 

...../..... charge. 

..../.. danger. 

h ... defendant. 

V^.... evidence. 

„....\... experience. 
...Js^.forever. 

indiscriminate, 

in order. 

....^...intelligent. 
j interest. 

intellect. 

Jz.. gentlemen. 

...J... ...gentleman. 



4 8 COGSWELL'S COMPENDIUM 



ADDITIONAL SPEED PRINCIPLES. 



First may be written by using only the loop of the word; 

thus : O. 

The first may be written thus: r& 

Ing-a-n-d may be expressed by writing a tick at right angles 
with the previous stroke; thus: I taking a-n-d ; i having 

a-n-d. 

Ing-the may be written by using the same tick written not 

at right angles with the previous stroke; thus: - seeking 

the;)—/ asking the. 

Hoio may be expressed by the he-tick written just under 

the line ; as 7 — r -liow can, -/w how long, ..-je^- how soon, 

\_^ how do you know. 

Con, com or accom may be implied when following to by 
writing the word of which it is a prefix as though the word to 

were the only thing to be implied; as p I am willing 

to concede, —*- ^- £ £• » he desires to comply with your 

request, /2. ^i he will not refuse to accommodate 

! 

you. 

Ing may be implied by writing the following word or part 
of word directly under what precedes. At the end of a word 
thus, J[ telling you, -±^_ •••■ asking him, ^\ giving 



OF PHOA O GRA PHY. 49 



P 

her, -— >~^-- going home, ! sitting down, ■■- J*- 

standing up. In the middle of a word; thus, " v Not- 
tingham, /-L^ Cheltingham, N — ^^ Buckingham, 



Birmingham, *..-e==3-_ - Cunningham, 



J! 



Stonington. 



P 

In compound words; thus, V sitting-room, 



i dining-room, c?^ — smoking-room, 3 v^^ 

walking-beam, &~(g— sailing-vessel. 

In expressing numbers in the alternative, the word or may 
be omitted, and the second number written above and to the 
right of the first; thus, ^ two or three, 9 - ° twenty-five or 
thirty-five. 

In expressing inclusive sets of numbers both prepositions 

may be omitted, and the second number written below and 

2 23 

to the right of the first; as, * from two to four, 2 k from 

twenty-three to twenty-five. 

The fractions i, £, J, f , f , being those most commonly 
used, may be indicated by the use of a small index figure. 

If the fraction to be written is either £, £, or J, it may be 
expressed by writing the denominator at the top of the whole 
number as an index; thus, 12 2 for 12|, 33 3 for 33^, 6 4 for 6£, etc. 

The fraction f may be expressed by writing the index 3 
against the whole number, thus, I63 for 16f-, 93 for 9J-, etc. 



50 COGSWELL'S COMPENDIUM. 

The fraction f may be expressed by writing- the index 4 
at the bottom of the whole number; thus, 10 4 for 10£, 18 4 for 
18f, 46 4 for 46|, etc. 

When in law reporting an answer is given by repeating the 
exact words of the question, the answer may be indicated by 
drawing a long line; thus, 

Q. ^^ He went to the same place ? 

^ 

A. He went to the same place. 

Or where the answer repeats the question with a change 
of pronoun ; as, 

Q. q *-^/ I v. You spent the summer 

^ <0 ^ OZ^vT. J ■^—^ — 

at Newport ? 

A. / spent the summer at 

Newport. 

Where the question is repeated as a part of the answer, 
the same principle may be applied even more liberally; as, 

Q. k— ; I ^ a ' Did you go at the appointed 

v 

time ? 

A. tf , J ^ a _^ Yes, sir; 

I went at the appointed time but did not rind him. 



ENGRAVED EXERCISES. 



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ENGRAVED EXERCISES 






COGSWELL'S COMPENDIUM 



KEY TO ENGRAVED EXERCISES. 



OXE THING AT A TIME. 

The student who abandons a subject without understanding 
it is like a commander who leaves an enemy in his rear; he ad- 
vances without the cheering certainty of being fully master of 
the road over which he has travelled, and most generally finds 
the difficulty, which he has left without overcoming, start up 
in the course of his progress in a hundred different shapes, and 
a hundred different subjects to harass and perplex him.— 
Hoffman. 

indolence. 

A habit of indolence is a most powerful enemy to those 
whose profession in life demands the utmost exertion. I mean 
not here to allude to that shocking intemperance of idleness 
which utterly precludes every hope. Xo man of sense is likely 
on a sudden, or perhaps ever, to fall into so disgraceful an inac- 
tivity. I mean that indolence which steals upon us by degrees, 
even while we flatter ourselves all is activity and diligence ; 
which does not boldly rob us of our time and powers at once, 
but which persuades us that we are already sufficiently indus- 
trious ; which is eternally whispering into our willing ears, 
'* Xow is the time for repose ; you have done enough ; you 
pursue your studies with an unnecessary attention ; recreate 
yourself ; you have a right to recreation ; you have done more 
than is commonly done." This is the language, this is the 
sentiment, that beguiles us of apparently small, but really 
valuable, portions of time, and that defrauds us of excellence. 
— Raithby. 

pulling down the old chukch. 

The ropes were all adjusted, and there was an affecting 
silence through the motley group of old and young that had 
come together to witness" the scene. Not a word was 
uttered while the carpenter, with a reluctant hand, was pass- 
ing his saw through the heart of the last of the large posts of 
the old house of God. There was a kind of awe-inspiring influ- 
ence creeping over every heart, as the venerable sanctuary stood 
tottering and reeling in the breeze. True, a more beautiful 
house had been erected in the centre of the village, and the 
old superannuated edifice was doomed by common consent 
to be demolished. The young men of the hamlet had engaged 
with alacrity in the service, and all was now ready for the 
closing scene. The patriarchs of the village had come up to 



OF PHONOGRAPHY. 



take the last look of that ancient house of prayer, which had 
boon to them for more than half a century the nearest gate to 
heaven. 

1 was then but a boy, but well can I remember how many of 
these old fathers turned away their faces, and wept on their 
staves, as they witnessed the progress of the sad preparation. 
Their bosoms were full of the most touching associations that 
can affect the human heart. There they stood, immovable as 
statues, while the old dismantled church was trembing, and 
reeling, and nodding towards them, as if entreating their in- 
terposition, or reproving the sacrileges that were sapping its 
foundations. It had survived all the first settlers of the vil- 
lage, and most of their -children, who. through all the years 
of their trials and tribulations, had assembled there for divine 
communion and consolation. Thither had they resorted in 
their manhood for spiritual direction and in frosty age. and 
thence gone down to their long homes in a little enclosure a 
few rods distant. 

The venerable pastor, after having seen most of his flock 
gathered to their respective dust, had also been laid at the 
head of the silent a rgregation. The few that remained of his 
time, now lingered around like grieved spectres beneath the 
old oaks that were bowing their aged heads, as if in sympathy 
with their doomed contemporaiy. There they stood, mourn- 
ful and silent. There were long-reaching souvenirs kindling 
up in their aged breasts until their hearts burned and bled 
within them. They heard not the groaning and creaking 
timbers: but their spirits seemed listening to the long-lost 
tones that once filled the venerable sanctuary. 

" All's ready ! " shouted the carpenter, stepping hastily back- 
wards a few rods. " All's ready ! '' passed along the ropes in 
a doubtful undertone. The old church paused for a moment 
from its oscillation before the wind, as if feeling a new force. 
It groaned, tottered, quivered, and then a blinding cloud of 
dust arose, followed by a crash that made the ground tremble 
beneath our feet, and it was all over. 

As soon as it had cleared away. I looked for those venerable 
fathers who had so enlisted my sympathy. They were still 
leaning upon their staves, contemplating the heap of ruins, 
without uttering a word. I looked again, and they were gone. 
I never saw them more. — Eliiiu Burritt. 

ARTISTIC HINTS IX AMATEUR PHOTOGRAPHY. 

A view is not necessarily a picture. This is a distinction 
which the amateur photographer must draw in the beginning, 
if he desires to make an art of his work, and not a mere me- 
chanical exercise. If he learns what constitues this radical 



72 COGSWELL'S COMPEXDIUM 



difference, his pursuit will be to him a source of unceasing 
pleasure, and he will become, within the limitations thereof, 
as truly an artist as though he were an adept with pencil, brush 
and palette. He needs but the artistic sense and the easily- 
acquired skill to manipulate his apparatus ; nature does the 
rest. Many are attracted to amateur photography simply I y 
the novelty of it ; they are fascinated by the mysteries of the 
various processes, but as soon as the newness wears off, they 
abandon the whole thing as a child throws away a toy. One 
. season almost invariably does the work for this class of enthu- 
siasts, alter which the camera is relegated to the lumber-room; 
and the dark closet, perhaps fitted up with great care and 
elaboration, is abandoned. We fortunately thus have a limit 
set to the production of the appalling array of staring clap- 
boarded houses as expressionless as packing-crates, groups of 
grinning summer boarders stiffly drawn up on hotel verandas, 
and the other familiar attempts at view-catching character- 
istic of the average novice. 

But the true amateur photographer is a different person. 
His artistic sense keeps his interest alive ; the novelty of the 
beginning wears off, but his love for his work grows with 
practice, and observation and experience are ever teaching him 
new things of artistic value. It is this which makes a true artist 
of the amateur, while the professional photographer, devoted 
to the technicalities of his calling, is apt to be but a highly pro- 
ficient artizan. The latter, devoid of artistic perception, when 
he has a view to take, plants his camera at random before his 
subject and fires it off much as one would a cannon, demolish- 
ing, from a picturesque standpoint, whatever he aims at. The 
most awkward point of view may be taken, and, indeed, usually 
seems to be deliberately selected. This accounts for the com- 
monplace dreariness characteristic of the general run of photo- 
graphs of scenery found on sale along the beaten routes of tour- 
ist travel. They are merely " views " without the faintest 
suggestion of pictures. The idea of the photographer seems 
to be that all which the tourist cares for are reminders of the 
hotels where he put up, of the railway stations where he left 
the train, and the eating-houses where he took his meals, with 
an assortment of the biggest and ugliest railroad bridges, 
trestle-works and cuttings thrown in. There are few more 
hideous blotches upon the American landscape than that 
formed by the summer-resort hotel, and yet think of the scores 
of White Mountain views, for instance, in which a great bar- 
rack-like caravansary, ugly as American carpentry can make 
it, is the central feature, taking all the repose out of the ma- 
jestic heights above, and making one desirous for a providen- 
tial landslide in that particular spot. 

On the other hand, one occasionally sees an example of 



OF PHONOGRAPHY. 73 



amateur photographic work at which the professional would 
sneer as rubbish, but which, though bad photographs, techni- 
cally considered, yet form the most charming pictures. Per- 
haps the subject may have been somewhat out of locus, or the 
camera have slightly jarred when the picture was taken, just 
blurring the outlines and giving a softness and suggestiveness 
just adapted to the subject, as a certain class of subjects is 
best adapted to the peculiar handling of Corot. with his gray, 
silvery lights and indefinite outlines. 

Professional photographers are, however, not to be con- 
demned, as a class, as lacking in artistic sentiment. Not to 
mention the many thoroughgoing artists in portrait photog- 
raphy to be found in our leading cities, there are also pro- 
fessional landscape photographers whose exquisite sense of 
the picturesque ^ives them high artistic rank. Prominent 
among tliese is Mr. Muybridge, of San Francisco, celebrated 
for his experiments with instantaneous photography on the 
horse in motion, an important discovery which made his name 
deservedly famous. 

Look to your foregrounds! Amateurs should bear this par- 
ticularly in mind, for it is one of the points most neglected. 
The tendency is to look to the distance and disregard the fore- 
ground entirely, so that what might have been made a picture 
is left an empty, forlorn view. It is an easy matter to secure a 
good foreground. A clump of grass or weeds, a rock or a shrub, 
a tree with branches drooping from above, or dashed across a 
comer of the picture like a Japanese silhouette, or simply the 
curving lines of a road or path may be availed of so as to give 
the desired balance or symmetry to the composition. If there 
be nothing else, a most excellent effect may be obtained- and the 
empty foreground rilled out with a figure or a group of figures, 
utilizing one's companion, or the bystanders who are usually 
attracted by operations with a camera. Do not let them stand 
gaping, with arms akimbo, but dispose them symmetrically in 
an artistic group. 

It requires considerable experience for a novice to learn 
what subjects are best adapted for photographic pictures. 
A most interesting landscape to look upon, a scene that would 
at once be seized by a painter, or even an artist in black-and- 
white, may make an utterly uninteresting photograph. A 
landscape maybe glorious of aspect, and yet owe all its charm 
to color rather than to form. — SylvesierBaxtee, in Outing. 



74 COGSWELL'S COMPENDIUM 



LAW REPORT. 

EXTEACT FEOM WELTOX'S APPEAL, TRIED IX SUPERIOR COURT, 
NEW HAVEN COUNTY, CONNECTICUT, 1886; OFFICIALLY 
REPORTED EY F. II. COGSWELL. 

E. T. Gerry, sworn. 

Examined by Mr. Dewitt. 

Q. 1. What is your name? A. My name is Elbridge T. 
Gerry. 

Q. 2. Your age? A. 48 years old. 

Q. 3. Where do you reside? A. Xo. 8 East Forty-eighth 
Street. New York City. 

Q. 4. What is your occupation? A. I am a member of the 
bar of the State of New York and a member of the bar of the 
Supreme Court of the United States. 

Q. 5. When were you admitted to practice? A. In 1860, 
fall term. 

Q. 6. Have you any other occupation, and if so, state it? 
A. I am President of the New York Society for the Preven- 
tion of Cruelty to Children, and also Yice-President and coun- 
sel of the American Society for the Prevention of Cruelty to 
Animals. 

Q. 7. State, Mr. Gerry, if you knew the late Carrie J. Wel- 
ton, and if so, when you first met her? A. I did know the 
late Caroline Josephine Welton. I think I met her previous 
to the interview about which I am about to state, at the office 
of the Society on one occasion when she was there 1 , I met her 
at the headquarters of the Society, on the corner of Twenty-sec- 
ond Street and Fourth Avenue. I was merely presented to her 
at the time and passed out. On the 17th of October, 1878, in 
consequence of a note which I had received from Mr. Bergh, 
the President of the Society, to call at the Buckingham Hotel 
on Fifth Avenue, in the city of New York, corner of Fiftieth 
Street, I think. I called and inquired for Miss Welton and 
sent up my card. 

Q. 8. Did she receive you? A. I was received by the 
young lady in one of the parlors of the hotel. 

Q, 9. Describe Miss Welton as she appeared to yon at that 
time? A. Miss Welton was a young lady, I should say of 
probably twenty-five or a little over, somewhere between 
twenty-live and thirty. She was very refined and delicate 
looking, dressed with the usual simplicity which characterizes 
ladies of taste, very nicely dressed; rather fragile looking, so 
to speak. She was very pleasant and courteous in her manner, 
refined and elegant in her expressions. The language which 
she used was the language of an educated person. 



OF PHONOGRAPHY. 



75 



Q. 10. What did she say to you? A. She said to me that she 
was an only daughter, that her father was dead, that she re- 
sided in the State of Connecticut, that she had at her disposal 
a very large property both real and personal. She then stated 
that she had been for years very fond indeed of animals, 
that she had personally known Mr. Bergh, the President of the 
American Society for the Prevention of Cruelty to Animals; 
that she had for many years been a contributor to its funds 
and had taken a deep interest in its work. She went on to 
speak of Mr. Bergh. She said that she regarded Mr. Bergh as 
one of the noblest men in the country; that he had labored 
for years in the cause of the brute creation, and that she was 
desirous, after she passed away, of leaving the greater 
part of her property to the society of which he was President, 
in order that the humane work might be prosecuted with 
more vigor than it was at that time. 

She then said she was anxious to have this will drawn as 
soon as possible; she consulted some memoranda which she 
had, and went on to mention each, and as she mentioned it 
I made some notes in pencil at the time. 

Cross-examined by Mr. Webster. 

Q. 1. How long did I understand you that you had been 
counsel for this Society? A. I think since 1868 or 1869, 
sir. 

Q. 2. This Society issues annual reports to the public. 
Do you recognize this as being their annual report? (Hand- 
ing witness pamplilsto) 

Objected to as irrelevant. Claimed for the purpose of show- 
ing what Miss Welton's contributions to the Society actually 
were, as it has been claimed that she was a large contributor. 
Excluded. 

Q 3. Mr. Gerry, you saw nothing of this lady which would 
excite any suspicion to distrust her statement, I suppose, and 
so like any one else who called to have a will made you 
took her directions and entered them clown and drafted the 
will? A. Yes. 

Q. 4. Did you hurry any about it in consequence of that 
suggestion of Mr. Bergh that you had better be in haste on ac- 
count of the condition of her health? A. Yes. 

Q. 5. You spoke of her expressing great affection for her 
mother, but your statement was quite general. I haven't 
heard what those expressions were. Will you have the kind- 
ness to repeat her expressions of affection for her mother at 
that interview. A. She stated in substance to me that she 
and her mother lived together up in Connecticut; that she 
was an only child, an oaiy daughter. She spoke of her 
father's death, that he had died some time since, that she 



7 6 COGSWELL'S COMPENDIUM 



had considerable property in her own right, and her mother 
also had a certain amount of property 

Q. 6. I called for expressions of affection, and nothing else. 
Now you have undertaken to make a speech and that is not 
what I called for. If you heard any expressions of affection 
of the daughter for the mother, state what they were, as near 
as you remember? A. What was your precise question, sir? 
Stenographer repeats the preceding question. 

The Court: Go on, Mr. Gerry, and confine yourself to those 
expressions. A. I don't recall the exact language which she 
used in reference to her mother. I have stated simply the 
substance of what I can recollect. That is a matter, of 
course, of eight years ago, and it is difficult for me to tax my 
memory with the precise expressions she used, excepting in 
speaking in the way in which I have testified. 

Q. 7. Then you can't give any expressions of affection in 
her language? A. No, sir. 



ARGUMENT BEFORE A JURY. 



EXTRACT FROM ARGUMENT OF GEORGE G. DEWITT, JR., IN 
WELTOX'S APPEAL. 

In conclusion, gentlemen of the jury, I wish to say that 
even if you believe all that has been offered in this case by the 
appellants, if you believe all that Mrs. Johnson said in regard 
to what Carrie told her, if you believe she has not exaggerated 
that first interview, or if you believe that first interview took 
place at the time she said it did — upon that you cannot find 
that this Avill of 1878 was invalid. If you find that those 
charges were the outcome of a delusion existing on the part 
of Miss Welton at that time against her mother, you cannot 
find that the will of 1878 was invalid on that account, because 
all those were made after the will was made ; and when the 
will was made you have evidence that is uncontradicted that 
they were devoted, friendly and affectionate, and that that 
will was made with the mother's approval, and it was a long 
preconceived testamentary intention that the testatrix was 
then carrying out. 

Consider all the facts that have been presented to you in 
this case on both sides, and then see if you can conscien- 
tiously say that the will and codicil are not valid. To do 
that you must find that Miss Carrie Welton was insane on Oc- 
tober 18, 1878, and further, that the will was the outcome of 
her estrangement from her mother, or from possible delusions 
that she entertained against her mother. And to do that yor 



OF PHONOGRAPHY. 77 



must ignore the evidence that in 1875, before she went to 
California, and in 1878, when she conferred with her mother, 
she told her that she proposed to give the estate to charities 
and principally to this society. 

To declare this will invalid you must reject the evidence of 
the three doctors who saw Miss Welton and could rind no 
evidence of insanity; you must rind what those practical men 
of long experience could not rind: you must reject the evi- 
dence of Dr. Hamilton and Dr. Lindsley who say that tak- 
ing this case all together that there is not sufficient evidence 
that this young lady possessed an insane delusion as to her 
mother, and are not contradicted by Dr. Ma cD on aid or Dr. 
Stearns; for Dr. MacDonald said that if she made that will 
with the approval of her mother, there was no insane delusion 
about that; and Dr. Stearns did not go on the stand in relut- 
tai after he had heard all this testimony and say that he ad- 
hered to his opinion formed upon that hypothetical question 
which included only part of the facts in this case and part of 
those we have proved to you were erroneous. 

We have introduced some thirty-two witnesses here who 
have known this woman from 1868 down to the time of her 
death; we have given you evidence of her conduct for eveiy 
month of her life since then, and you must ignore all that evi- 
dence in order to set aside this will. 

Gentlemen, I thank you lor the close attention you have 
given to this trial; I thank you for the close attention "you have 
given me while addressing you; audi thank the Couit for 
his forbearance, for possibly in the heat of trial I may have 
overstepped the legal proprieties for the moment; and I also 
thank my opponents for the courtesies they have extended to 
me. 



REPORT OF CONVENTIONS 



from the official report of the thirteenth axxual.- 
coxyextiox of the national association of fire 
englxeers, held at loxg branch, x. j., sept. 8, 9, 
10, 11 and 12, 1885; takex by f. h. Cogswell. 

Ex-Chief Stockell: Chief Shay and Mr. President, I rise to. 
ask a question. Which would be your preference for an out- 
side shutter ? 

Chief Shay: A wooden shutter, covered with metal. 

Ex-Chief Stockell: That would be your preference ? 

Chief Shay: Yes, sir. 

Chief Lindsley: I)o you think iron shutters could be dis- 



78 COGSWELL'S COMPENDIUM, 

pensed with on the street front, or where they look out on 
streets, or confined to the walls in the rear? 

Chief Shay: My answer to that would be, that it would be 
regulated by the width of the streets. In a street sixty feet 
wide, 1 should think it would not be necessary. 

Chief Lindsley: Does the law compel them to put on the 
shutter ? 

Chief Shay: The law requires it on the rears and sides, but 
not on the front. 

Chief Lindsley: It was my impression that it was sufficient 
protection if the rear of the buildings are protected by iron 
shutters. 

Ex-Chief Stockell: I would like to continue and ask a ques- 
tion of Chief Shay in regard to the matter. I have no doubt 
he has had considerable experience. Where buildings are closed 
in the front and rear with iron shutters and a large stock of 
inflammable material inside, isn't there danger of an explosion 
taking place and throwing clown the building and killing your 
men. *" Havn't you" had experience of that kind ? 

Chief Shay: Well, we had a case about a month ago in a 
building on the corner of Barclay and Washington streets, an 
eight-story building. The fire originated on the first floor, 
and about six minutes after the first alarm and the companies 
got to work, there was an explosion, caused by the gas and 
rarified air, etc., through combustion. The trouble there was, 
there was no sky-light in the roof. It was a solid roof, with 
only one scuttle-hole in it. It was secured by a trap. It 
raised the roof on Barclay Street, and blew the stones and about 
six courses of bricks into the street. It struck about eight or 
ten men. There were about seven, I think, of our men hit, and 
about three citizens. One of the men had his thigh broken, 
and four Aveeks afterwards he had his leg amputated, and he 
died. That was the cost of not having proper openings in the 
roof. 



INDEX. 



Additional Speed Principles . 

Affixes 

Alphabet 

Ar-Hook 

Circles and Loops 
Contractions .... 

Ef-Hook 

El-Hook 

Engraved Exercises . 

En-Hook 

Halving 

Key to Engraved Exercises 
Lengthening Curves . 
Phonography • ... 

Materials 

Omitting Words 

Phrasing 

" Special . 

Preface . 
Prefixes . 

Punctuation ..... 
Shading and Lengthening Em 
Shun, Eshun and En-Hooks 
Special Speed Principles 
Student, to the .... 

Ter-Hook 

Vowels 

Way and Yay, Brief Signs for 
Word Signs, (Consonant Stems) 
" " (Towel Stems) 



48 
37 

9 
24 
10 
47 
26 
22 
51 
28 
20 
69 
34 

8 

7 
43 
39 
41 

3 
35 
17 
33 
31 
45 

5 
30 
12 
18 
15 
16 



u- 



